This is what I get quarterly from Kill Screen for $40 a year; just shy of 100 pages:
This is what I get from the Grantland Quarterly for $48 a year; about 340 pages including a pull-out style section:
To be fair, Kill Screen is full color and has a lot more content that either isn’t available on the website or is delayed there after the print publication. (Grantland is done in 2-color groups and has mostly content that was published on the website about six months earlier, but it’s hardcover.)
I love both publications and think that they are both full of a lot of very, very good writing, but there’s a value comparison here that’s not in Kill Screen‘s favor, especially considering that Kill Screen has ads and Grantland Quarterly doesn’t.
Panel: Paul Ford, editor @ Harper’s; Lisa Holton, 4th Story Media; Mandy Brown, Creative Director @ Etsy; Erin Kissane, independent editor of web content (A List Apart, Happy Cog)
Abstract: In this panel we’ll explore the creative, strategic, and marketing challenges of traditional and new (internet hybrid) book publishing and online magazine publishing, and how these fields intersect with content strategy and client services.
Which will die first, newspapers or Flash?
Ford – the same a lot of ways, complicated to get started and all normally funded by advertising – says Flash
Brown – Flash; the industry is changing in many ways; one corner is changing quickly and the other is changing very slowly; NYT still makes money off print and will keep doing it for a while
Kissane – there are other ways to make things move around than Flash – the content is important and Flash is ephemeral
Zeldman – trick question as neither one will go away, but Flash is going to become less important as a platform
Given that newspapers and books seem to be in trouble, is this a good time to start a publishing company?
Brown – an industry transition is a good time to jump in, so yes – people will be trying new things and that’s exciting
Holton – started a new company a while back to marry books with digital media, but a good time because (1) small companies can react to the market, (2) people don’t provide just services anymore, now they teach as well
Ford – terrible time to try and shoehorn existing content models into the web (that day is over); really interesting time to leverage the extraordinary ecosystem of what’s out there
What’s the web good for as a platform?
Ford – not so much a publishing platform, but as a customer service platform – talking to people, giving them what they need, helping them understand what they need, and reaching them in that way – how do I serve and interact with people and give them value for their money?
Brown – this is like a return to the independent bookstore – a human connection, conversation, and personal recommendations
Zeldman – when publishing traditional books, you’re also providing a unique experience and interaction through the web
Holton – “The Amanda Project” as an example – users make a game out of it and create a story as a collaborative experience – weekly publishing of a really good idea to extend the narrative; give the users props for the ideas that you use; two forms of the craft of publishing: editing for print and writing/editing on the web; more specific prompts give you better results
Kissane – some of the web participant ideas and such make it into print books – print book schedule is so long, but publishing online happens once per week – provides better engagement for the reader; a sequel takes 1.5 years to bring out, and the readers are 1.5 years older!
Zeldman – people who are Tweeting *as* characters from shows (Mad Men) as a social zeitgeist – these are unrelated people who create these things and enhance the experience for those who are watching; we know our users are going to do these things anyway, so why not bring those people in to help the project succeed?
Who owns the book in new publishing?
Brown – example of Amazon and the 1984 issue – when you buy an ebook, it is likely not going to last as long as a paper book because you really don’t own it, you instead pay for access for a time, but you are gaining the ability to access things you might not normally be able to access
Zeldman – it’s also DRM that messes up this relationship
Kissane – one of the great things about right now is that you can have both; search and discovery is easier with electronic forms of publishing (Google Books)
Zeldman – libraries have been doing this for a while, especially because older documents and manuscripts are damaged every time they are handled and with electronic media you remove that limitation (and limitations of space/geography)
Ford – How would this device work after the apocalypse? – there were no Kindles in “The Road” – there is a sense with permanence with paper; so many problems with licensing and ownership now
Brown – eBooks are currently by-products of print publishing
Holton – different kinds of publishing will be prevalent in different publishing methods
Zeldman – does the format affect what we buy?
Ford – publishers have an opportunity to play around and figure stuff out – don’t outsource this stuff
Brown – a lack of curiosity on the part of a lot of publishers – don’t want to engage, don’t want to learn new things
Holton – sympathetic towards big publishers
Brown – in a model of expensive distribution, it makes sense to have broad product range and try to reach broad customers
Zeldman – the problem for traditional publishing is the loss of control, but we still need editors
Kissane – in web content, we have much to learn from traditional publishing, especially long-term planning and content plans
Ford – this is a good time to broader the editorial tent
Audience questions – I have no notes because I asked one 🙂
Barnes & Noble has taken another step in deepening its role in the digital marketplace, launching its Audiobook MP3 Store on Barnes & Noble.com. The store will feature spokenword audiobook MP3s available for download and transfer to iPods, iPhones, MP3 players and other portable devices. The site is launching with more than 10,000 titles across all genres, priced between $10 and $20 per download.
“As the use of MP3 players, iPods, iPhones and other digital devices continues to increase, it is important for Barnes & Noble to continue to expand our audio selections,” said Tom Burke, executive v-p, E-Commerce Barnes & Noble. Overdrive is managing the distribution of titles through the BN.com site. Later this year, B&N is expected to launch an e-bookstore, following its acquisition earlier this year of Fictionwise.
And it’s all DRM-free.
I wonder what that new e-bookstore is going to look like.
Booksquare on Amazon’s purchase of Lexcycle two days ago:
Right now, it’s time for the publishing industry to step up to the plate. Stop worrying about fake issues like text-to-speech and start worrying about your customers. You may not be able to stop the settlement you negotiated and you cannot stop Amazon from acquiring better technology. But you can demand that your books be sold in the most consumer-friendly manner possible. Take the initiative to be a leader in the future of books — recall that your competition is changing rapidly — and you’ll be a leader in the future of reading.
The Lexcycle sale is great news for the hard-working team that developed this incredible application, against so many odds. It’s not so great news for everybody else. Consumers are slowly being locked into a single vendor. Publishers are being backed into Amazon’s corner. Yet, yet, yet, I ask again: where are the publishing initiatives, the fresh thinking, to protect the free market?
I’ve recently been performing some research into so-called “social DRM” as it applies to digital files for my own knowledge bank. I’ve been very interested in the approaches to DRM shown by groups such as The Pragmatic Programmers and ebooks purchased from outlets like Lulu, where the name of the purchaser is automatically embedded within the purchased file in order to provide it with some measure of discouraging sharing/piracy.
iTunes has done this from the start, and even though they have dropped the traditional notion of DRM from their music files now, they still mark each and every file you download with the email address of the Apple ID used to purchase the song. It’s not used in any sort of enforcement application (that we know of to date), but knowing it’s there stops some people from posting the tracks publicly or sharing them with anyone who is not a close personal friend or relative (my conjecture).
In doing this research, I ran across a two year old blog post from Bill McCoy of Adobe. He has some words to say about the same, which is fascinating coming from the GM of their ePublishing department. His comments are in reaction to the Steve Jobs note from 2007 regarding music and DRM—something that ended up happening less than two years after the fact. I also ran into some more recent comments from McCoy, speaking to the establishment of a DRM standard that is cross-platform instead of complete advocacy for the removal of traditional DRM systems from ebook titles.
Let’s talk about why this isn’t feasible and how we can learn from the past.